Tussaud's catered for the public's fascination with monarchy, whether Henry VIII and his wives or Queen Victoria, as well as for their love of history, acting as an accessible and enjoyable museum. This work looks at Madame Tussaud herself and her exhibition as part of the wider history of wax modelling and of popular entertainment.

Paris, 1810. Haunted by the French Revolution, Marie Tussaud has locked herself away in her shop with the death masks she was forced to make to avoid the guillotine. Philidor, a famous magician, offers her the chance to accompany him to London to assist in creating a wax automaton that will bring them both money and success. Following a disastrous performance on their opening night in which the wax on their prized spectacle melts, the eccentric Duke, William Cavendish, invites them to his rambling estate, Welbeck, where he suggests they take up residence, use his underground ballroom for a new show and in return create a private commission for him: a wax automaton in the likeness of Elanor, a beautiful girl who mysteriously disappeared from the estate when he was a child. In this delicious novel of twists and turns, Welbeck, with its locked doors and rooms, is full of secrets and no-one is who they seem. There is the seductive aura of Shelley, Dickens and Du Maurier in Tussaud. Marie must fight for survival in a world dominated by male advantage and power in a mesmerising story filled with wisdom about human behaviour and motivations. 'Thrilling, eerie, fun, and psychologically compelling, Tussaud cleverly blurs the line between history and the fantastical to create a Gothic delight of mysterious mansions, grimy London streets, stage magicians, wax-work automatons, secrets and subterfuges. Mary Shelley would be proud.' – H.G. Parry, author of The Unlikely Escape of Uriah Heep 'Lies, treasons and twists will lure and enthral the reader. At the heart of Tussaud a mysterious automaton challenges the limits of its physical body, craving for a conscience. The reader is in for wondrous ride as Belinda Lyons-Lee poignantly captures Marie Tussaud's proud self-denial, her struggle to achieve independence in a world dominated by con-artists, and her rare talent to create the most perfect illusion of life.' – Mariano Tomatis, Italian writer and magician

London, 1896. Madame Tussauds opens to find one of its nightwatchmen decapitated and his colleague nowhere to be found. To the police, the case seems simple: one killed the other and fled, but workers at the museum aren't convinced. Although forbidden contact by his superior officer, Scotland Yard detective John Feather secretly enlists 'The Museum Detectives' Daniel Wilson and Abigail Fenton to aid the police investigation. When the body of the missing nightwatchman is discovered encased within a wax figure, the case suddenly becomes more complex. With questions over rival museums, the dead men's pasts and a series of bank raids plaguing the city, Wilson and Fenton face their most intriguing and dangerous case yet.

In the late nineteenth century, Scandinavian urban dwellers developed a passion for a new, utterly modern sort of visual spectacle: objects and effigies brought to life in astonishingly detailed, realistic scenes. The period 1880-1910 was the popular high point of mannequin display in Europe. Living Pictures, Missing Persons explores this phenomenon as it unfolded with the rise of wax museums and folk museums in the largest cities of Denmark, Sweden, and Norway. Mark Sandberg asks: Why did modernity generate a cultural fascination with the idea of effigy? He shows that the idea of effigy is also a portal to understanding other aspects of visual entertainment in that period, including the widespread interest in illusionistic scenes and tableaux, in the "portability" of sights, spaces, and entire milieus. Sandberg investigates this transformation of visual culture outside the usual test cases of the largest European metropolises. He argues that Scandinavian spectators desired an unusual degree of authenticity--a cultural preference for naturalism that made its way beyond theater to popular forms of museum display. The Scandinavian wax museums and folk-ethnographic displays of the era helped pre-cinematic spectators work out the social implications of both voyeuristic and immersive display techniques. This careful study thus anticipates some of the central paradoxes of twentieth-century visual culture--but in a time when the mannequin and the physical relic reigned supreme, and in a place where the contrast between tradition and modernity was a high-stakes game.

From Strawberry Hill to The Dungeons, Alnwick Castle to Barnageddon, Gothic tourism is a fascinating, and sometimes controversial, area. This lively study considers Gothic tourism's aesthetics and origins, as well as its relationship with literature, film, folklore, heritage management, arts programming and the 'edutainment' business.

The true crimes of one of nineteenth century England’s most notorious thieves and killers, whose exploits still capture the public’s imagination. Once immortalized in Madame Tussauds’s Chamber of Horrors, and brought to life in two silent films, his gnarled and prematurely aged features would be the last image his victims ever saw, yet ironically, he was known by the name of Peace. A grotesque figure who took on many names and many faces, he could slip into the home of an unsuspecting family with the silent stealth of a cool night time breeze, and leave without a trace. Spending his nocturnal hours limping through the dirty streets with villainy on his mind, and impishly disappearing into the industrial smoke that hung over Victorian Sheffield like a perpetual storm cloud, this devil wrote his own place in the folklore of his hometown. Committing one gruesome crime after the next, he was the most wanted man in England for a time. Tales of burglary, murder, daring escapes, and a truly shocking miscarriage of justice feature in Charlie Peace along with moments of lost love, damaged pride, and violent revenge. Ben W. Johnson’s biography tells the chilling story of a man who turned to crime through necessity, but consciously chose to continue in an ever spiraling life of wickedness.